Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 5 Exposures

I figure that we are due for another grungy UrbEx shot.

I’m not sure about you, but there are so many times when I get a wacky idea to compose a shot in a certain way only to bail out on it after psyching myself out. I tell myself, “ehh, this is going to be a stupid shot”. That was the case with this shot. I remember walking from one room to the other, while Bob was shooting something else behind me, and thinking about this composition. I set everything up and just before I started exposing the brackets, I started talking myself out of it.

But the more I think about it, the more ridiculous that is. We have at our disposal SO much capacity on our media cards and on the hard drives in our computers. We can store thousands upon thousands upon millions of images without batting an eye. So, with that in mind, I ended up taking the shot and I’m so thankful for it because when I got home and really started processing, this shot became one of my favorites from the day.

With today’s technology and massive amounts of storage available at an affordable price, it simply doesn’t make sense to forsake a shot.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 9 Exposures

Getting this shot was something of a redemption for me. About two years ago, shortly after I had picked up the Canon 15mm Fisheye lens, I went to go shoot the Fed in downtown Boston. I thought it would make a perfect subject for major distortion. So, I set out towards the end of the day after businesses were closed and started composing my shot. Sure enough, within two minutes, I had two federal police officers on either side of me, telling me to leave. Now, to be fair, I was technically on government property so I didn’t have much of an argument. The shot that I ended up getting can be scene here and you can even make out the silhouette of one of the officers approaching me on the bottom right of the frame.

While I was happy with the shot, I always wanted to redeem myself and get another version without being rushed. So, a few weekends ago, I went back to the Fed and started testing the waters. I set up my tripod but just stood by it for a minute or two. No guards. Cool. Then, I started composing the shot. No guards. Sweet. Finally, I let the brackets fly. Still no guards!

Whatever the reason, I had ample time to grab a few different comps and it gave me a great sense of satisfaction. So, for those of you who miss out on a shot because of the authorities, don’t give up. Try going on weekends when the overall crowd may be thinner and security may not be as strict.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 11, ISO 100, HDR, 5 Exposures

This is one of my favorite types of images… and not just because it’s got my hometown of Brooklyn, NY in the distance (but that helps!). What makes me really dig this shot is the different scenarios that play out in my head just by looking at it. The most effective way to get someone to create scenarios in their minds about what’s going on in the frame is to introduce elements that can be juxtaposed nicely. In this instance – you have the Staten Island beach and you have… a hatch. Or is it a hatch? If it is a hatch, what is below it? But if it isn’t a hatch, could it be something else? A piece of a ship’s hull? What happened to the ship. Is it somewhere below the Verrazano?

So many question. So many answers. I love it.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 9 Exposures

Styles change. No big surprise here, right? What piques your interest today could be totally boring to you tomorrow. It’s important to be in tune with what gets you going so that you can seek it out and develop it, as it were. For the longest time, I’ve been a huge fan of this grunge/urbex photography. Without going into a dissertation, a lot of the characteristics and elements found in these scenes really jive with my sense of style.

But I’ve also noticed myself lately gravitating towards processing and posting different styles of photos. Some are more nature-based, others are more on the architecture side. But, I was cognizant that I was keeping away from this sort of grunge photography. I think part of it has to do with just how intense grunge photography can be. It really is a barnyard full of different and competing elements, on top of the constant task of herding just the right amount of varying texture in each part of the scene. In short, it’s a lot on the mind and on the eyes to process (and view).

So, I took a break from it. I haven’t really shot any grunge/urbex as of late nor have I visited any of my urbex backlog… until last night, when I happened upon the shot above, taken during my very first visit to the Stone Mill with Mr. Mills himself, Bob Lussier. I remembered composing this shot and being very jazzed about the warped symmetry in windows created by the fisheye. I loved having such a distinctly crusted foreground element in the paint pan. It all worked for me and all of those memories came flooding back. It got me revved up and I was back in action.

I am left wondering how I’d react if I hadn’t afforded myself this break from the grunge. Would the excitement have been diffused and would that translate in a poorly processed image? Considering that as a possibility, I was really glad that I took a break from the type of photography that I was enveloping myself in… if just for a few weeks.

So, never discount a well-timed respite. Sometimes, it is the exact prescription to revitalize your style.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 9 Exposures

I know that this shot has been done before. I know that if you own a fisheye and you happen to find yourself with ready access to a series of train tracks, one of which is occupied by an idling freight train, you will get this shot. And I’m totally fine with that. I know that I have other versions of this shot and I know that my friends likely have similar shots. And that’s all good. You know why? Because it’s my shot. I went out and I took it. Again. And will likely take it again at a future date.

I think that as photographers, we sometimes put a quota on how many times we will shoot a locale or get the same type of shot. I know I’m guilty of it. But, when I’m in the moment and I see this shot through the Live View, believe that I’m going to get it. At the most, it’s just some space on the hard drive. You just never know what sort of inspiration will hit when you’re going through Post. Sure, the comp may be the same but the final image might be totally different. And that, right there, is where taking the same shot over makes it all worthwhile.

The next Alt Perspective contributor will be by my good friend, Rich Williams. Rich and I have a running inside joke where we’ll head over to an area that we’ve both shot to death and we’ll pretend like it’s the first time that our eyes have seen the place. It’s goofy but I love it. Rich is a perfect embodiment of shooting something repeatedly and being able to repeatedly create totally unique shots. I love the guy and I can’t wait to share his greatness with all of you.

So, next time you find yourself in Copley Square, Times Square, the National Mall, or wherever the played out area of your town is, just shoot it again. I think it’s almost statistically impossible for you to shoot the -exact- same shot twice. If that is true, then what is stopping you?

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 9 Exposures

I know it may sound funny but in my mind, I’d like to think that urban architects design certain streets and buildings especially so they will be photographed with a fisheye lens. If I had to sum up one of the best applications of the fisheye lens, it would be: when there is a particular feature that you want to embellish on or greatly over-exaggerate. I rarely get as much joy flipping on my Live View as I do when the fish is on. It’s staggering just how much creativity can be packed in that tiny lens body.

I shot this image the other day. I went on a solo photowalk and was meandering around with no real agenda. I’ve walked/driven down this street a thousand times but I never really thought about shooting it with the fisheye. As it was, we were having some pretty perfect weather and clouds in Boston that day and it all worked to make a shot that I was really excited to shoot, process and share with you.

It never hurts to look at familiar places with some fisheye distortion. You may never look at that ol’ city block the same way again.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 16, ISO 100, HDR, 9 Exposures

A while back, I shot around this abandoned set of train tracks in Somerville with my buddy, Laz.  It was an awesome area, ripe with all sorts of UrbEx HDR opportunities.  Sadly, the week after we shot in the area, Chris told me that the entire place was closed off, the tracks were ripped out, and it was being converted into a bike path.  Super.  The other day, I was meeting up with Chris to go on another shoot but I was early with time to kill.  So, I took the liberty of some mild B&E and headed into the closed off area.

It really was tragic.  They had razed the few abandoned buildings that were there and left nothing but a blank slab of concrete floor.  Totally disenchanting.  But, they did also leave this freakshow of construction equipment.  There was really only one lens to use here: the fisheye.  Consider this making lemonade out of lemons.

But, there real heart of the story is this: don’t take anything for granted.  The phrase, “I can just come back next week, or another time, or even tomorrow” may prove to be some famous last words.  If you’re at a scene, you have your camera, and you see something you like, just get the shot.  If it means having to get off of the bus, make a U-Turn, park awkwardly (but safely), do it. Get the shot that may not be there later on.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 11, ISO 100, HDR, 9 Exposures

Normally, when I am shooting a scene, I take a few minutes to scout around and see if there is anything in particular that I want to focus on.  I find that sticking to this plan usually helps me avoid wasting time and reduces the overall amount of ‘clutter’ shots.  That all went out the window when I first saw this scene in Sorrento, Italy.  I basically plopped my tripod down and started rifling shots as if these two walls were seconds away from closing in on each other.

It’s hard to get a sense of scale of just how massive this canyon is.  It’s like something out of Lord of the Rings with the houses and trees integrated so perfectly into the rock face.  I opted to use my Fisheye lens to distort the curve of the road and give an even more looming perspective.  This was easily one of the most gorgeous scenes that I had the privilege of shooting during my two weeks in Italy.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 11, ISO 100, HDR, 9 Exposures

I suspect that to some viewers, there will probably be a level of disgust when surveying the image above.  And that is totally rational.  The place was disgusting.  It was dirty, had a rank odor, and provided the ever-pleasant sound of breaking glass with every footstep taken within.  But to me, this is totally gorgeous.  It is art born out of abandonment.

And that is one of the greatest things about photography.  Interpretation.  It is 100% subjective and there are no right or wrong answers or opinions.  The only barrier to entry is having a camera capable of capturing an image.  That is the one common thing that all photographers share.  Everything else, every decision in how and why you choose to capture a particular image in the particular way that you do is all on you.  Someone may do something similar, but in the confines of the four walls of your frame, you are truly master of your domain.  And never, ever let anyone else try to tell you otherwise.

Canon EOS 5D Mark II, Canon EF 15mm f/2.8 Fisheye, 15mm, F 22, ISO 100, HDR, 9 Exposures

This shot right here, it was a rarity for me.  It’s not very often when I can find  a section of Grand Central Terminal, in NYC, totally empty without any pedestrians.  Now granted, the section was closed off with rope and technically, I didn’t cross the rope.  My tripod and camera… well, you know, I tried my best to teach them good behavior.  To know the wrongs from the rights.  But, their philosophy is: “I’d rather ask for forgiveness than permission.”  So, they got the shot.  I got to process it.  You could imagine me trying to rationalize with the police officer who stopped me as soon as I got this shot.  I guess my tripod was an extension of me to some degree.  I decided to not go into the metaphysical theories behind his reasonings and graciously retreated (despite having a legit permit to shoot there).

Still, the fisheye did not fail to please.